Tag Archives: Vladimir Sabourin

My Book Year 2019

The year 2019 is almost over and it is time to look back at my reading and blogging experiences.

After a hiatus, I started again to blog more or less regularly and I hope this will be also the case for 2020.

As for my reading, I didn’t keep a diary to track down the books I read this year, but the number is approximately 130, so roughly two and a half books per week, of which around 60% were fiction, 40% non-fiction. Almost all books I read were “real” printed books, only one book was read electronically. I read books in four languages (German, English, French, Bulgarian).

Every book year brings interesting discoveries, pleasant surprises, some re-reads of books I enjoyed in the past, and a few disappointments. Here are my highlights of the last year:

The most beautiful book I read in 2019: Arnulf Conradi, Zen und die Kunst der Vogelbeobachtung (Zen and the Art of Birdwatching)

Best re-reads in 2019: Michel de Montaigne, Essais; Karl Philipp Moritz, Anton Reiser; Salomon Maimon, Lebensgeschichte (Autobiography)

Best novels I read in 2019: Marlen Haushofer, Die Wand (The Wall); Uwe Johnson, Jahrestage (Anniversaries); Jean Rhys, Sargasso Sea

Best poetry books I read in 2019: Thomas Brasch: Die nennen das Schrei (Collected Poems); Johannes Bobrowski, Gesammelte Gedichte (Collected Poems), Franz Hodjak, Siebenbürgische Sprechübung (Transylvanian Speaking Exercise); Yehuda Amichai, The Poetry of Yehuda Amichai; Anise Koltz, Sich der Stille hingeben (Surrender to the Silence); Mahmoud Darwish, Unfortunately It Was Paradise; Vladimir Sabourin, Останките на Троцки (Trotzky’s Remains); Rainer René Mueller, geschriebes, selbst mit stein

Best Graphic Novel I read in 2019: Art Spiegelman, Maus

Best SF novel I read in 2019: Arkady and Boris Strugatsky, The Doomed City

Best crime novel I read in 2019: Ingrid Noll, Halali

Best philosophy book I read in 2019: Ibn Tufail, The Improvement of Human Reason

Best non-fiction books I read in 2019: Charles King, The Moldovans; Charles King, Midnight at the Pera Palace; Timothy Snyder, The Road to Unfreedom; Adriano Sofri, Kafkas elektrische Straßenbahn (Kafkas Electric Streetcar); Rebecca Solnit, A Field Guide to Getting Lost; Lucy Inglis, Milk of Paradise; Adina Hoffman and Peter Cole, Sacred Trash; Sasha Abramsky, The House of Twenty Thousand Books

Best art book I read in 2019: Hans Belting, Der Blick hinter Duchamps Tür (The View behind Duchamp’s Door)

Best travel book I read in 2019: Johann Gottfried Seume, Spaziergang nach Syrakus (Walk to Syracuse)

Biggest book disappointment in 2019: Elena Ferrante, Neapolitan Novels

Favourite book cover in 2019: Ivo Rafailov’s cover for the Bulgarian edition of Marjana Gaponenko’s Who Is Martha? (this edition is upcoming in January 2020)

Most impressive translator’s work: Jennifer Croft’s translation of Flights by Olga Tokarczuk; Vladimir Sabourin’s translations in his Bulgarian poetry anthology Радост на Началото (The Joy of the Beginning)

Most embarrassing authors in 2019: Peter Handke; Christoph Hein; Zachary Karabashliev

Good as always: Vladimir Sorokin, The Blizzard; Clarice Lispector, Near to the Wild Heart; Ismail Kadare, The Traitor’s Niche; Jabbour Douaihy, Printed in Beirut; Georg Klein, Die Zukunft des Mars (The Future of the Mars); Phillipe Claudel, Le rapport de Brodeck (Brodeck), Kapka Kassabova, Border; Naguib Mahfouz, The Midaq Alley

Interesting Authors I discovered in 2019: Samanta Schweblin, Mouthful of Birds; Olga Tokarczuk, Flights; Isabel Fargo Cole, Die Grüne Grenze (The Green Border); Hartmut Lange, Das Haus in der Dorotheenstraße (The House in the Dorotheenstraße); Erich Hackl, Abschied von Sidonie (Farewell to Sidonia)

And which were your most remarkable books in 2019?

© Thomas Hübner and Mytwostotinki, 2014-9. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and Mytwostotinki with appropriate and specific direction to the original content.

Ludmila Kaloyanova: East River

Die bulgarische Dichterin Ludmila Kaloyanova lebt in Pittsburgh, PA. Sie veröffentlichte zuletzt den Gedichtband Anadromus (Zahari Stoyanov, 2017). Mit dem hier vorgestellten Gedicht gewann sie den erstmals verliehenen Preis der bulgarischen Literaturzeitschrift „Neue Soziale Poesie“. Der Jury gehörten an: Zlatomir Zlatanov (Vorsitzender), Alexander Nikolov, Ventzislav Arnaoudov, Kiril Vassilev, Christopher Buxton, Krassimir Kavaldjiev, Marco Vidal, Thomas Hübner.  

East River

Am nebligen Nachmittag
im Carl-Schurz-Park
sauge ich Regenspritzer und
den Geruch des Flusses ein
Puerto-ricanische Frauen mit Kinderwagen
führen freundliche
französische Bulldoggen
spazieren
zwei graue Tauben
spähen
vom rostigen Geländer

aus den Strudeln
des East River
winkt mir
angekommen vor hundert Jahren

Onkel Theodor zu
meine Tochter
(die von seiner Existenz nicht ahnt)
knipst sich gerne
vor der Freiheitsstatue

…verblassende Erinnerung
Entropie vererbter Gene
Paradoxien der teuer
erkauften Freiheit…

die Tauben
setzen ihren Seiltanz
auf dem Geländer fort

ich strecke meine Hand aus

Übersetzung: Vladimir Sabourin

——————–

Ийст Ривър

В мъгливия следобед
на Карл Шурц парк
попивам пръски дъжд и
мирис на река
пуерториканки с колички
разхождат приветливи
френски
булдози
два сиви гълъба
надничат
от ръждясалите перила
във водовъртежните ями
на Ийст Ривър
дошъл тук
преди повече от столетие
вуйчо Теодор
ми маха с ръка

дъщеря ми
(която не подозира за съществуването му)
обича да си прави
снимки пред
статуята на свободата

…отронена памет
ентропия на пренесени гени
парадокси на скъпо
платената свобода…

гълъбите-въжеиграчи
продължават своя танц
върху перилата

протягам ръка

——————–

East River

In the foggy afternoon
in Carl Schurz park
I soak up rain spray and
a river smell
Puerto Ricans with push chairs
walk warm-hearted
French
bulldogs
two grey pigeons
are peering
from the rusty railings
in the whirlpool pits
of East River
come here
more than a century ago
uncle Theodore

waves to us
my daughter
(who doesn’t suspect his presence)
likes to take
selfies in front of
the statue of liberty

a crumbling memory…
entropy of transported genes
paradoxes of freedom
dearly bought…

pigeon-puppets
continue their dance
over the railings

I stretch out an arm

Übersetzung: Christopher Buxton 

——————–

East River

In the foggy afternoon
at Carl Schurz Park
I soak up rain drops and
river scent
Puerto Ricanas with strollers
walk amiable
French bulldogs
two grey pigeons
peek
from the rusted railings
into the cyclonic pits of
East River
anchored here more than
a century ago
uncle Theodore waves

to me
my daughter (who doesn’t suspect
his existence)
likes taking photos in front of
the Statue of Liberty

…crumbling memory
entropy of displaced genes
paradoxes of freedom
paid dearly for…

the pigeons–
tightrope walkers–
resume their dance
on the railings

I reach out

Übersetzung: Ludmila Kaloyanova 

——————–

East River

Dans l’après-midi brumeux
du Carl Schurz Park
je m’imbibe de bruine et
d’effluves du fleuve
Des Portoricaines avec poussettes
promènent d’amènes
bouledogues
français
Perchés sur le garde-fou
rouillé
deux pigeons gris
tendent le cou
Depuis les trous de remous
de l’East River
l’oncle Teodor

arrivé ici
il y a plus de cent ans
me fait un signe de la main
Ma fille
(qui ne soupçonne pas son existence)
aime se faire
photographier devant
la statue de la Liberté

…mémoire égrenée
entropie de gènes transmis
paradoxes d’une liberté
cher payée…

les pigeons funambules
poursuivent leur danse
sur le garde-fou

je tends la main

Übersetzung: Krassimir Kavaldjiev 

——————–

East River

En una tarde nebulosa
del parque Carl Schurz
me impregno de gotas de lluvia
y del aroma del río
Puertorriqueñas con carritos de bebé
pasean а sus afables
bulldogs franceses
dos palomas grises
se asoman
por el parapeto oxidado
desde los remolinos profundos
del East River
mi tío Teodor
que llegó aquí

hace más de un siglo
me saluda con la mano
mi hija
(que ni siquiera sospecha de su existencia)
disfruta haciéndose
fotos frente
a la estatua de la libertad

…memoria despojada
entropía de genes transferidos
paradojas de aquella libertad
que resulta tan cara…

Las palomas continúan bailando
sobre el parapeto como en una cuerda floja.

Y yo tiendo la mano.

Übersetzung: Marco Vidal

© Thomas Hübner and Mytwostotinki, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and Mytwostotinki with appropriate and specific direction to the original content. 
© Ludmila Kaloyanova, Vladimir Sabourin, Christopher Buxton, Krassimir Kavaldjiev, Marco Vidal

New Social Poetry: an interview with Vladimir Sabourin

“New Social Poetry” is a Bulgarian literary movement, created in 2016 in Sofia. The first publication of this group, the “Manifesto of the New Social Poetry” has caused a lot of controversial discussions due to the outspoken rhetoric of the text against the so-called “peaceful transition” in Bulgaria, a period after the official end of communism that can be characterized, among others, by a continuity of old elites and their representatives in the cultural sphere.

In an essay collection “Towards a New Social Poetry” by the group’s founder, Vladimir Sabourin, the author offers his analysis of the situation of Bulgarian poetry and the conditions in which it is created today; recent developments related to the prestigious “Literary Journal” (Literaturen Vestnik) were for him obviously the trigger to create this new poetic movement. In the short time since its foundation, the group has held many public readings all over Bulgaria, started a successful journal “New Social Poetry“, and has already a number of book publications in Bulgarian and in translation, of which beside the “Manifesto” and the essay book also an almanach (“New Social Poetry – the Anthology“) are available in English. Reason enough for me (TH) to conduct an interview with the group’s founder, Vladimir Sabourin (VS).

 

TH: Vladimir, you once said that you are not a Bulgarian poet, but a poet who writes in Bulgarian. What did you mean by that and why is this distinction important to you?

VS: I come from a mixed marriage, my mother is Bulgarian, my father Cuban of French origin. I grew up as non-accepted, as stranger, “nichtdazugehörig” as the Germans say, both on the part of the Bulgarians and on the part of the Cubans. Writing, poetry is a homeland that nobody can challenge. I write in a minor language, but I do not share the self-contemptuous image the Bulgarians have of themselves and their language. In the major literary languages, it is perfectly natural to write in a language to which you ethnically don’t belong. I consider the language in which I write a major literary language.

TH: My personal impression as a reader (and occasional translator) of Bulgarian poetry is that many – even well-known – Bulgarian poets write “naive” poetry. I do not mean that in a denigrating sense, but rather as an expression of the fact that it is often not clear to me if these poets are familiar with the spectrum and variety, the history and formal language of modern poetry. Compared to that, your poems left a very different impression on me. Looking at your poetic development, what were the main influences for you? In what tradition do you see yourself as a poet?

VS: Your impression corresponds to a reality, already commented by the first major Bulgarian modernist poet Pencho Slaveykov at the beginning of the last century. It is extremely important to understand however that this is today a reality nurtured by state institutions for both internal and external use. If you like, this can be described as a state-sponsored reality that aims at building a pseudo-identity, just like for exports such as yoghurt. The great modern poets are a problem for this country, they are either just murdered (Geo Milev, Nikola Vaptsarov) or hushed up. Does anyone outside of a small circle in Bulgaria – not to mention outside the country – know Zlatomir Zlatanov or Ani Ilkov? The image of Bulgarian poetry continues to be built on the “naive”, “natural”, even when it is just a marketing trick, adapted to foreign expectation. This expectation is disparaging, and the fitting to it is a testimony of a deep inferiority complex. – In the Bulgarian poetry my teachers are Ani Ilkov and Zlatomir Zlatanov, in the foreign-language poetry in the first place Bertolt Brecht.

TH: Your recent collection of poems “Trotsky’s Remains“, which has been compiling your poetic work since the early 1990s, has been self-published. Why?

VS: My first poetic book was self-published, 25 years later I am again in the position of having to release a collection of my poems myself. From an existential point of view, this is a stoic amor fati. Sociologically, it is a textbook example for the omerta, in which the “naivety” of Bulgarian literature flourishes in a publishing landscape, which is dependent on the initial accumulation of capital with – to say the least – dubious origin. The large publishers are an integral part of the state-capitalist oligarchic model, the small ones are dependent on state subsidies that nurture the ideology of “naivety”. At the end of the day, my conscience as author is clear and none of my books has been published within this framework. For this autonomy, without which there is no modern poetry, I have to thank my parents Jesús Sabourín and Margarita Drenska and my friend and literary brother-in-arms Ventsislav Arnaoudov.

TH: You are not only a poet, but also a congenial translator of poetry. Which poets have you translated and what does translation mean to you?

VS: When I can’t write poetry, I translate poetry. I see translations as an integral part of my own poetry, as Ezra Pound does. And with my translations I am facing the same kind of omerta as with my own poetry, but my personal blog is some sort of “collected translations-in-progress”, including Bertolt Brecht, Fernando Pessoa, Heiner Müller, Jorge Manrique, Nicanor Parra, Rainer Maria Rilke, Roberto Bolaño, Sarah Kirsch, Sylvia Plath, Vicente Huidobro, Virgilio Piñera, Archilochus, Velimir Chlebnikov, Joseph Brodsky, Hugo Ball, Ezra Pound…

Manifesto

TH: Some time ago you wrote a “Manifesto of the New Social Poetry” and a collection of essays “Towards a New Social Poetry: Aesthetico-political Theses”; almost at the same time, a literary group “New Social Poetry” has established itself and there is now also a literary magazine of the same name. What is the “Manifesto” about and what motivated you to write it?

VS: In the summer of 2016 something like “privatization”, in fact another theft of communal property with legal means happened, concerning the most important literary periodical after 1989 – the “Literary Journal” (Literaturen Vestnik). The current editorial team of the newspaper discarded its creators (who in the 1990’s had invited them as editors), ending a long-standing process of corporate academic and literary adhesion, destroying the radical political nature of the “Literary Journal”. As an author, I grew up in the “Literary Journal” during its radical-political phase. Its “privatization” by a corporation of university departments was the drop that made the glass overflow for me. What happened with the “Literary Journal” was another example of the misappropriation of communal property, which characterized the entire “peaceful transition” from socialism to capitalism in Bulgaria. The ongoing deterioration of “Literary Journal” is evident recently in the case of Julia Kristeva – after her unmasking as a former agent of the Bulgarian State Security*, the newspaper should have asked her to withdraw from the Editorial Board of the journal. But they did not. The “Manifesto” turns against this adhesion of unscrupulous academic power and literature.

New Social Poetry

TH: There were – as probably with every new group of poets – a few “faction fights” and splits or resignations within the “New Social Poetry” group. In the meantime, however, the group, according to my impression, is developing a lively activity, which is not limited to just the mentioned magazine. I am thinking of the readings and the book publications. Maybe you can say a few words about that?

VS: The central issue of the “Manifesto” is the revival of literary life after nearly two decades of literary “peaceful transition.” Since the autumn of 2016, when we founded the group “New Social Poetry,” there was a dynamic in the literary field that we had forgotten since the end of the period of political radicality of the 1990s. What’s happening inside our group is part of this dynamics. I like your analogy with the factional divisions and struggles typical of radical political movements. “New Social Poetry” is an avant-garde group that wants to bring back political radicalism to literary life, it is logical to apply this principle within the group as well. Not despite, but rather thanks to the “factional struggles”, we managed to make our first national tour with readings in Varna, Burgas, Plovdiv, Stara Zagora and Sofia in less than a year. At the same time, we issued two anthologies in English and French – at the self-publishing platform CreateSpace – New Social Poetry: The Anthology (translation by Christopher Buxton) and Nouvelle poésie sociale: L’Anthologie (translation by Krasimir Kavaldjiev).

TH: Who are your most important “comrades-in-arms” in the “New Social Poetry“? Are there any interesting young talents beside the established names?

VS: Unlike the predominant economic individualism in the Bulgarian literary circles, which is a reflection of the social misery of personal survival in the poorest country in the EU, we believe in the effectiveness of solidarity. There is no authentic avant-garde without joint action. The word “comrades-in-arms” is accurate – we are in war with the status quo of the “peaceful transition”. I’m mockingly referred to as a Latin American guerrillero, ok, that’s what I am. I am happy to work with Ventsislav Arnaoudov, Kiril Vassilev, Vania Valkova, Christina Vassileva, Alexander Nikolov, Nikolay Fenerski, Ivan Marinov. More recently, the young poet and editor of the magazine A. Nikolov, barely reaching the age of majority, published his debut poetic book “fairness.” Take a look also at his peer, Michaela Angelova, who debuted in our magazine, and whose poem “Time is a Man” is published in the anthologies.

TH: What are the plans for the near future? Your own and those of the group “New Social Poetry“?

VS: We are currently working on the Spanish translation of our anthology, I think in the summer I’m going to have her translated into German. My plan is to blow up the “peaceful transition” with the “New Social Poetry”.

TH: One last question: Which Bulgarian book with poetry would you like to see translated in English?

VS: Kiril Vassilev’s Provinces (Small Stations Press 2015)

TH: Vladimir, thank you for this interview.

 

All three titles (New Social Poetry – the Anthology, Towards a New Social Poetry, and Manifesto for a New Social Poetry are translated in English by Christopher Buxton and were published at CreateSpace in 2018)

*Julia Kristeva denies these allegations; according to her, the whole dossier with several hundred pages, which was published online by the Dossier Commission that deals with the State Security files, is a fabrication with the aim to tarnish her reputation.

Introduction, questions and translation of the interview from the German/Bulgarian original by Thomas Hübner.

This interview was first published at the blog of Global Literature in Libraries Initiative, June 13, 2018 for #BulgarianLiteratureMonth.

© Thomas Hübner and Mytwostotinki, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and Mytwostotinki with appropriate and specific direction to the original content.

 


New Social Poetry from Bulgaria

There are not really a lot of poetry collections or anthologies by Bulgarian authors available in English. Therefore I take the opportunity to let those readers with an interest in poetry, or in Bulgarian literature, know that these days a new anthology with poetry by contemporary authors from Bulgaria has seen the light.  

New Social Poetry: The Anthology, translated by Christopher Buxton, is comprised of texts by a wide range of authors, some of them well-known in Bulgaria since decades, some of them very young and at the beginning of their poetic journey. The following authors participate in the anthology:  Zlatomir Zlatanov, Alexander Nikolov, Ani Ilkov, Atanas Petrov, Vania Valkova, Ventsislav Arnaoudov, Violeta Zlatareva, Vladimir Sabourín, Gancho Petrishki, Dilyana Parvanova, Ileana Stoyanova, Kiril Vassilev, Kristina Krumova, Marco Vidal, Michaela Angelova, Nikolaj Bojkov, Nikolay Fenerski, Plamena Girginova, Rositsa Bakalova, Ruzha Velcheva, Teodora Taneva, Thomas Hübner, Christina Vassileva. The title of the anthology refers to a literary movement that was founded 2016 in Sofia, and to the literary journal of the same name.  

I should mention in this context that the initiator of New Social Poetry, Vladimir Sabourin, recently published a book that deals with the origins of this literary movement: Towards a New Social Poetry: Aesthetico-political Theses (also translated by Christopher Buxton), an interesting and controversial essay, whose core, the Manifesto for New Social Poetry created quite an uproar in literary circles in Bulgaria, mainly because it was considered as a frontal attack against the literary establishment in Bulgaria and a type of literature that the author refers to as “lifestyle literature”. 

Alexander Nikolov, Atanas Petrov, Vania Valkova, Ivan Marinov, Kristina Krumova,  Ventsislav Arnaoudov, Vladimir Sabourín, Nikolay Fenerski, Christina Vassileva (eds.): New Social Poetry: The Anthology, translated by Christopher Buxton, CreateSpace 2018

Vladimir Sabourin: Towards a New Social Poetry: Aesthetico-political Theses,      translated by Christopher Buxton, CreateSpace 2018 

Both books are available at Amazon in printed form, the latter also as e-book. 

© Thomas Hübner and mytwostotinki.com, 2014-8. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

 


“Neue Sachlichkeit (Wannsee)”, von Vladimir Sabourin

НОВА ПРЕДМЕТНОСТ (WANNSEE)

Клайст натиска бавно спусъка
ако S-Bahnа мине оттам
по същото време
би било съвпадение.


Neue Sachlichkeit (Wannsee)

Kleist spannt langsam den Abzug
wenn die S-Bahn dort genau
in diesem Moment vorbeigekommen wäre
wäre das ein Zufall gewesen.

 

Übersetzung aus dem Bulgarischen: Thomas Hübner

Das Original wurde zuerst hier, die Übersetzung hier veröffentlicht. Mein Dank geht an den Autor, Vladimir Sabourin.

© Vladimir Sabourin, 2016 
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

“Die Frauen von Bordeaux”, von Vladimir Sabourin

Жените на Бордо
ще бъдат смугли.
 
Светлоокият мъж
се връща луд
сред меките хълмове
на Швабия.
 
Във френските плантации
край Сантяго
господарките говорят френски
робините йоруба.
 
 
—————————–
 
 
Die Frauen von Bordeaux
werden dunkelhäutig sein.
 
Der helläugige Mann
kehrt verrückt heim
zu den sanften Hügeln
Schwabens
 
Auf den französischen Plantagen
in der Nähe von Santiago
sprechen die Herrinnen Französisch
die Sklavinnen Yoruba

 

 

aus: Vladimir Sabourin: bakarena fabrika (Kupferfabrik*), Stiftung “Literaturen Vestnik”, Sofia 2015

*Die “Kupferfabrik” ist ein ausgesprochen heruntergekommener Friedhof in Sofia, ein Ort an dem Arme und sozial Deklassierte “entsorgt” werden; ein wahrhaft deprimierender Ort absoluter Hoffnungslosigkeit.

Übersetzung aus dem Bulgarischen von Thomas Hübner

 #BulgarianLitMonth2016

© Vladimir Sabourin, 2015
© Foundation "Literaturen Vestnik", 2015
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

“Lied der vietnamesischen Arbeiter”, von Vladimir Sabourin

Песен
на виетнамските работници
 
Ние сме идеалните заварчици
за корабостроителниците
на Голямата Река
стигахме до най-трудните места
в железните утроби
А под нас изтичат водите
на сухите докове
Така искаме да се трудиме
докато всичко изтича
и да е изтекло тихо
под бръмченето на електрожените.
 
 
———————————————————–

Lied
der vietnamesischen Arbeiter
 
Wir sind die idealen Schweißer
für die Schiffswerften
des Großen Flusses
wir erreichen die schwierigsten Stellen
der eisernen Schöße
Unter uns verebben die Wasser der Trockendocks
So wollen wir uns abmühen
bis alles verebbt
und still erloschen ist
unter dem Brummen der Schweißgeräte.

 

aus: Vladimir Sabourin: bakarena fabrika (Kupferfabrik*), Stiftung “Literaturen Vestnik”, Sofia 2015

*Die “Kupferfabrik” ist ein ausgesprochen heruntergekommener Friedhof in Sofia, ein Ort an dem Arme und sozial Deklassierte “entsorgt” werden; ein wahrhaft deprimierender Ort absoluter Hoffnungslosigkeit.

Übersetzung aus dem Bulgarischen von Thomas Hübner

 #BulgarianLitMonth2016

© Vladimir Sabourin, 2015
© Foundation "Literaturen Vestnik", 2015
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.

“Die Zigarre des linken Dichters”, von Vladimir Sabourin

Пурата на левия поет

                                                      на Мая Горчева

Изработена изцяло с ръчен труд
На Острова на свободата откъдето
Бягат на вътрешни гуми от трактор
С риск от акули и отнасяне в океана
 
Това е пурата на големите леви поети
Пурата на Брехт Пурата на Мюлер Пурата на Гео
 
В последния момент се присламчва член
На ЦК на БКП председател на СБП ницшеанец
Орфик от епохата на Възродителния процес 
 
Това е пура сложена върху чаша с ром
Който изветрява нощем пит от мъртвите тя тлее
Пушена от тях по пътя на всяка плът.

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Die Zigarre des linken Dichters

                                                                       für Maja Gorcheva

Vollständig von Hand gemacht
Auf der Insel der Freiheit von der sie
Auf den Gummischläuchen von Traktoren fliehen
Der Gefahr von Haien und dem offenen Meer ausgesetzt

Das ist die Zigarre der großen linken Dichter
Die Zigarre von Brecht Die Zigarre von Müller Die Zigarre von Geo

Im letzten Augenblick schleicht ein Mitglied
Des ZK der BKP herein Vorsitzender des Schriftstellerverbandes Nietzscheaner
Orphischer Sänger aus der Epoche des Wiedergeburtsprozesses

Das ist eine Zigarre auf ein Glas Rum gelegt
Die des Nachts die Grube der Toten ausblüht sie glimmt
Geraucht von Jenen auf dem Weg allen Fleisches.

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Geo: Geo Milev, bulgarischer Dichter, 1895-1925, im Zuge der Vergeltungsmassnahmen im Zusammenhang mit dem Sv. Nedelja-Attentat in Polizeigewahrsam ermordet und mit Hunderten anderer Opfer in einem Massengrab verscharrt

BKP: Bulgarische Kommunistische Partei

Wiedergeburtsprozess: euphemistische Bezeichnung der Politik der Zwangsassimilerung der türkischen Minderheit in Bulgarien zur Zeit des Kommunismus in den 1980er Jahren 

Übersetzung aus dem Bulgarischen von Thomas Hübner

Vladimir Sabourin: Rabotnikat i smartta (Der Arbeiter und der Tod), Small Stations Press, Sofia 2016

#BulgarianLitMonth2016

© Vladimir Sabourin, 2016
© Small Stations Press, 2016
© Thomas Hübner and mytwostotinki.com, 2014-6. Unauthorized use and/or duplication of this material without expressed and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Thomas Hübner and mytwostotinki.com with appropriate and specific direction to the original content.